Neo-Surrealism - Alejandro Jodorowsky - Term Paper Example

? of Lecturer December 9, Alejandro Jodorowsky as a Neo-Surrealist Surrealism is a movement in the 20th century thatbelieved in automatism, and chose to express it as any art form they could. They were able do to this either through spoken word, written words, music, paintings, sculpture and more. They believed in the supremacy of thoughts which they opined must be expressed in an unencumbered manner. As far as expressing their thoughts were concerned, they believed it must not be controlled by reason, aesthetics or even moral fixations. Surrealists also believed in the omnipotence of dreams. After the surrealist movement, like many other movements, certain people felt that theirs was still more that could be derived from the movement, particularly as it concerned their time; so they brought it back. These set of people that decided to bring back surrealism in their own age, are the neo-surrealists. One of them is Alejandro Jodorowsky. Alejandro Jodorowsky is known to be a man of many parts; he is an author, a spiritual leader, filmmaker, playwright and an actor. Many of his works shift towards avant-gardism. His works are not like the average work that would be found in the time they were produced. Even now, his work will still be strange, at least in the surreal sense, yet they still apply to present times. They are often filled with images that are violent and surreal. They are also filled with a mix of religious mysticism and provocation. As a result of the “never-do-well” feature that can be found in many of his movies, one would realize that there seems to be continuity in his works. Jodorowsky’s move into surrealism did not start all of a sudden. There are insinuation that it may have started since the time he was very young. In fact, he may be said to have really had every course to embrace the movement as he did. Being raised in a family that he hated would have definitely taken its toll on him (Jodorowsky 39-40, 140). He also had contempt for the people who lived in his neighbourhood because most of them saw him as an imposter, as a result of the fact that he is the son of an immigrant (Jodorowsky 39-40, 140). All these experiences inadvertently had effects on the kind of works he produced, although not exactly in the manner in which it had happened to him. In “El Topo”, in which he starred and also directed, Jodorowsky may be said to have depicted a version of the uncertainties of life. As always, he does this by presenting a dream-like world. Yet, one would discover that, because no literature can totally annul its link with real life, “El Topo” is very much a story that can happen in real life. It is about a Mexican brigand who takes on a journey with the sole end of enlightening himself spiritually. Yet, while on the journey with his young son, he seems to be unable to take away his violent part. The violence depicted in this movie may have something to do with the director’s upbringing. He attacks people before he kills himself. He later ascends to society where deformed people are unable to escape the cave where they are. Like in almost all his movies, he depicts a distorted reality. We, as humans, all have the idea of what is perfect, yet most times we do not attain it. The best we often do is to aim at it because in reality, perfection cannot be attained because our reality is distorted. Of “El Topo”, Jodorowsky (97) says "I ask of film what most North Americans ask of psychedelic drugs. The difference being that when one creates a psychedelic film, he need not create a film that shows the visions of a person who has taken a pill; rather, he needs to manufacture the pill". Against music provided by a six-piece rock band, a set consisting of a smashed automobile, and the visual frisson provided by a cast of bare-chested women (each body painted a different color), Jodorowsky appeared dressed in motorcyclist leather. He slit the throats of two geese, smashed plates, had himself stripped aholynd whipped, danced with a honey-covered woman, and taped two snakes to his chest. Hoberman and Rosenbaum (362) No human being can exist in isolation. We are most times subjected to influences outside us. That was also the case for Jodorowsky. It is just unbelievable if it is perpetuated that such a man of many parts has never fallen under the influence of other individuals. Apparently, one of such individuals is Rene Daumal, whose surrealist novel, Mount Analogue is believed to have influenced Jodorowsky, particularly in the production of “Holy Mountain.” Like surrealists (whom the ones that neo-surrealists take after), neo-surrealists are usually in the habit of discountenancing what many people hold on to as the truth. One of such is religion. Most times, the depiction of things that have now become the realities of the lives of human beings is seen as another attempt by humanity to attain that which is beyond them. In “Holy Mountain”, religion, particularly Christianity, is taken a swipe at. There is a character who has tagged as "The Thief." This thief is paralleled with the Christian savior, Jesus Christ, a role played by Jodorowsky himself. This depiction would definitely be regarded as demeaning by many religionists. Christ is further depicted as one who is wondering in a number of strange place before He meets a strange guide who then shows him the way by showing him the seven powerful human beings. This may just be interpreted to mean that Christians (and maybe adherents of other religions) are a confused bunch of people who are following people, the supposed saviors, who themselves do not know where they are going. This view is even reinforced by the discouraging reality of the times (even the realities of today) which showed that religions and all that stand for have failed to live up to their billing. Also, in the movie, there are seven great individuals who are involved in business. These seven people are believed to be representative of the seven planets. In the movie, one would also discover how much people seek means through which they can continually exert themselves in life; they are off to the holy mountain because they believe they can get in touch with the secret that will make them immortal. One must not fail to point out that the soundtrack of this movie, like of most of the other movies, is outstandingly surreal. It is in fact like no other soundtrack used most movies at the time. This movie is simply an impolite uncontrolled satiric work that ridicules the contemporary human society and its zest for things which are beyond them. Apparently, it seems that there is a strong intercourse between Jodorowsky's neo-surrealism and religion. This can also be observed in “Santa Sangre”, which means “Holy Blood.” From the title alone, one would know that the movie has something to do with religion, Christianity in particular. The plot of the movie of “Santa Sangre” shares a number of similarities with Alfred Hitchcocks’s Psycho.  It may not be wrong to state that “Santa Sangre” is Jodorowsky's most neo-surrealist movie ever. The movie really succeeds in taking the viewers about the realm which they were used to. Reality, in it, is like a mirage. The plot is of a child, who saw with his eyes as his mother lost her arms. When this child grows up as an adult, this experience remains with him so much that he makes his own arms act like his mother’s. This action of his and a number of others consequently leads him to commit murders. In “Santa Sangre”, Jodorowsky may also be said to have depicted an oedipal connection between mother and child. This movie, like almost all his movies end on a sad note. It appears that in Jodorowsky's surrealism, skepticism is the key thing. Later in his career, Jodorowsky tried to re-make the Tarot de Marseille; he makes a turn from what many have regarded as his skeptic outlook. Also, included in his works is a therapeutic dimension. Most of the therapies are aimed at bringing to an end the psychological traumas that people suffered. Jodorowsky believes that the actions that are performed in the form of movies usually have an influence on the unconscious mind and capable to cause a revival from the past of psychological past. Jodorowsky also believed that people's family backgrounds and personality traits have a role to play in who they turn out to be. Jodorowsky is quoted to have once said that "Most directors make films with their eyes. I make films with my cojones" (Cobb 91). From the foregoing, Alejandro Jodorowsky is definitely an apostle of the age in period in which of his movies were produced. He effectively represents the neo-surrealist movement. In his movies, he was able to bring to the table what many others did not think was possible. Above all, he was able to effectively diagnose, as well as satirize, human experiences and expectations, the imperfection of mortals and how they continually strive for the best, despite the fact that they realize that the best hardly comes. Works Cited Cobb, Ben. Anarchy and Alchemy: The Films of Alejandro Jodorowsky (Persistence of Vision. Massachusetts: Barnes & Noble. 2007. Print Hoberman, James; Jonathan Rosenbaum. Midnight Movies. New York: Harper Colophon Books.1983. Print Jodorowsky, Alejandro (2005). The Spiritual Journey of Alejandro Jodorowsky. Rochester, Vermont: Park Street Press. Print Jodorowsky, Alejandro. El Topo: The Book of the Film El Topo: The Book of the Film. Rochester, Vermont: Park Street Press. Print Read More